The Karamazovs

Tymberly Canale narrates Anna Brenner’s The Karamazovs as a home health aide at The New Ohio Theatre in the West Village. Original production photos by Maria Baranova.
Five weird differences between the classic novel and this experimental reinterpretation.

By Andrew Andrews

Theodore Karamazov’s alienated son Dmitri needs money to pay child support for a daughter he didn’t know he fathered, and he’s come calling to the family lake house to ask for a loan against his inheritance.

Meeting him at the home are his estranged half-sisters Viv, a philosophical filmmaker who can’t find anyone to pick up her story, and Alyosha, who’s in-and-out of a monastery to hide from the world.

Liz, a home health aide who lives in the house with Theodore, takes care of the despised old man, who’s slowly dying of cancer.

When Theodore refuses to give the money to Dmitri, drama becomes a recurring event between the two, as well as between Dmitri and his siblings over their traumatic childhood and what Dmitri feels is “rightfully his.”

I won’t pretend I’ve read Dostoevsky’s timelessly-acclaimed The Brothers Karamazov, but based on some quick research, there are more than a few weird differences between the original story and this very loose adaptation that I think any potential audience member should be aware of:

Ross Cowan,Rachael Richman, Tymberly Canale and Mary Tuomanen make up the cast. As with many recent productions, this show’s projected live video distracts and detracts from the performance.

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Andrew Andrews attended The Karamazovs at New Ohio Theatre in New York on Tuesday, March 10, 2020 @ 7:30pm to write this review.

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